Influence of Emotional Expression, Loudness, and Gender on the Acoustic Parameters of Vibrato in Classical Singers

2012 ◽  
Vol 26 (5) ◽  
pp. 675.e5-675.e11 ◽  
Author(s):  
Marco A. Guzman ◽  
Jayme Dowdall ◽  
Adam D. Rubin ◽  
Ahmed Maki ◽  
Samuel Levin ◽  
...  
2020 ◽  
Vol 49 (7) ◽  
pp. 2547-2560
Author(s):  
R. Thora Bjornsdottir ◽  
Nicholas O. Rule

Abstract Heterosexual individuals tend to look and act more typical for their gender compared to gay and lesbian individuals, and people use this information to infer sexual orientation. Consistent with stereotypes associating happy expressions with femininity, previous work found that gay men displayed more happiness than straight men—a difference that perceivers used, independent of gender typicality, to judge sexual orientation. Here, we extended this to judgments of women’s sexual orientation. Like the gender-inversion stereotypes applied to men, participants perceived women’s faces manipulated to look angry as more likely to be lesbians; however, emotional expressions largely did not distinguish the faces of actual lesbian and straight women. Compared to men’s faces, women’s faces varied less in their emotional expression (appearing invariably positive) but varied more in gender typicality. These differences align with gender role expectations requiring the expression of positive emotion by women and prohibiting the expression of femininity by men. More important, greater variance within gender typicality and emotion facilitates their respective utility for distinguishing sexual orientation from facial appearance. These findings thus provide the first evidence for contrasting cues to women’s and men’s sexual orientation and suggest that gender norms may uniquely shape how men and women reveal their sexual orientation.


2017 ◽  
Vol 22 (4) ◽  
pp. 87-104 ◽  
Author(s):  
Roser Beneito-Montagut

Emotional expression is key to the maintenance and development of interpersonal relationships (IR) online. This study develops and applies a novel analytical framework for the study of emotional expression on the social web in everyday life. The analytical framework proposed is based on previous ethnographic work and the self-reported measurement of the visual cues, action cues, and verbal cues that people use to express emotions on the social web. It is empirically tested, using an online survey of Spanish frequent Internet users (n = 301). The analysis focuses particularly on how age, gender, and social web engagement relate to emotional expression during online social interactions. We find that both personal characteristics (age and gender) and levels of social web usage affect emotional communication online. The effect size is particularly strong for gender. This article illustrates and reflects upon the potential of the proposed analytical framework for unveiling norms and strategies in online interaction rituals.


2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Jonathan C. Corbin ◽  
L. Elizabeth Crawford

An emotional expression can be misremembered as more similar to previously seen expressions than it actually was – demonstrating inductive category effects for emotional expressions. Given that memory is influenced over time, we sought to determine whether memory for a single expression would be similarly influenced by other expressions viewed simultaneously. In other words, we test whether the ability to encode statistical features of an ensemble (i.e., ensemble encoding) is leveraged when attempting to recall a single expression from the ensemble. In three preregistered experiments, participants saw an ensemble of 4 expressions, one neutral and the three either happy or sad. After a delay, participants were asked to reproduce the neutral face by adjusting a response face’s expression. In Experiment 1, the ensemble comprised images of the same actor; in Experiments 2 and 3, images were comprised of individuals varying race and gender. In each experiment we demonstrated that even after only a single exposure, memory for the neutral expression in the happy group was biased happier relative to the same expression in the sad group. Data and syntax can be found at https://osf.io/gcbez/.


1994 ◽  
Vol 28 (2) ◽  
pp. 139-149 ◽  
Author(s):  
Robin J. Lewis ◽  
Jeffrey Atkinson ◽  
Joanne Shovlin

This research examined attributions that female and male college students made about an individual who committed suicide. The gender of the victim and whether alcohol use was involved were systematically varied. Results indicated that female and male respondents see the issues involved in suicide differently. Female respondents appear to place more emphasis on contextual clues such as alcohol use and gender of the actor. In addition, both female and male respondents tended to associate alcohol use and suicide for male actors but not for female actors. These results are discussed in terms of stereotypes that may be held for females and males vis-a-vis emotional expression and alcohol use. The use of population base rates in attributions about suicide and alcohol use is also considered. Directions for future research are also presented.


2019 ◽  
pp. 139-146
Author(s):  
Patrik N. Juslin

This chapter considers ways to establish links between musical features and specific emotions. The first step is usually to conduct an experiment, in which listeners rate the emotional expression of different excerpts of music — either music from commercial recordings or pieces created specifically for the study. The next step is to extract musical features associated with emotion categories. This can be done in four ways: analyzing the musical score of the pieces; relying on experts, such as music theorists and musicians, asking them to rate various aspects of the musical structure; measuring acoustic parameters of the music (e.g. sound level, timing, frequency spectrum of the timbre), using dedicated computer software; and manipulating specific musical features in synthesized (computerized) performances, to evaluate how they influence a listener's judgments of emotional expression.


2017 ◽  
Vol 284 (1859) ◽  
pp. 20170990 ◽  
Author(s):  
Piera Filippi ◽  
Jenna V. Congdon ◽  
John Hoang ◽  
Daniel L. Bowling ◽  
Stephan A. Reber ◽  
...  

Writing over a century ago, Darwin hypothesized that vocal expression of emotion dates back to our earliest terrestrial ancestors. If this hypothesis is true, we should expect to find cross-species acoustic universals in emotional vocalizations. Studies suggest that acoustic attributes of aroused vocalizations are shared across many mammalian species, and that humans can use these attributes to infer emotional content. But do these acoustic attributes extend to non-mammalian vertebrates? In this study, we asked human participants to judge the emotional content of vocalizations of nine vertebrate species representing three different biological classes—Amphibia, Reptilia (non-aves and aves) and Mammalia. We found that humans are able to identify higher levels of arousal in vocalizations across all species. This result was consistent across different language groups (English, German and Mandarin native speakers), suggesting that this ability is biologically rooted in humans. Our findings indicate that humans use multiple acoustic parameters to infer relative arousal in vocalizations for each species, but mainly rely on fundamental frequency and spectral centre of gravity to identify higher arousal vocalizations across species. These results suggest that fundamental mechanisms of vocal emotional expression are shared among vertebrates and could represent a homologous signalling system.


2018 ◽  
Vol 127 (12) ◽  
pp. 937-945 ◽  
Author(s):  
Adriana Chou ◽  
Colin Schrof ◽  
Evan Polce ◽  
Maia Braden ◽  
James McMurray ◽  
...  

Objectives: The aims of this study were to compare nondysphonic adult and pediatric voices using linear and nonlinear acoustic parameters and to evaluate the ability of adult spectrum convergence ratio (SCR) and rate of divergence (ROD) reference values to correctly identify a pediatric voice type as periodic or aperiodic. Methods: Twenty adult and 36 pediatric nondysphonic voice samples were collected and analyzed using linear and nonlinear acoustic parameters. Absence of voice disorder was confirmed using perceptual acoustic and spectral analysis. Mean values for jitter, shimmer, SCR, and ROD were compared between adults and children, across specific age groups, and within genders. Using adult reference values for SCR and ROD, samples were classified as primarily periodic or aperiodic and typed using spectral analysis. Rates of accurate typing were also compared between subject groups. Results: Overall, jitter and shimmer were similar among the adult and pediatric age groups. ROD was significantly different among the 3 pediatric and 1 adult group; the pediatric age groups were similar to one another. Adult SCR was also significantly different from all of the pediatric age groups. In adult men, ROD and SCR were significantly different from all of the pediatric age groups; the pediatric age groups were similar to one another. In female subjects, ROD was significantly different among all age groups. The ROD and SCR reference values were significantly better at categorizing adult voice types compared with pediatric voice types. Conclusions: In healthy subjects, SCR and ROD have discriminatory power for identifying adult versus pediatric voices, while jitter and shimmer cannot differentiate between the 2 groups. However, age- and gender-specific pediatric reference values must be determined to accurately classify voice types using SCR and ROD.


2020 ◽  
pp. 002216782096192
Author(s):  
Alex C. Orille ◽  
Velinka Marton ◽  
Kanako Taku

Posttraumatic growth (PTG) may foster skills that allow one to understand traumatic experiences in others. The primary aim of this study is to determine the relationship between an individual’s PTG reports and their ability to relate to two growth types, PTG and illusory growth. The purpose of this study is to elucidate perceptions of illusory growth and PTG so clinicians may more readily identify catalysts for growth and customize treatments. Participants were read two vignettes that detailed the experience of PTG and illusory growth as a result of a specific traumatic event (i.e., car accident). They completed a questionnaire regarding their perceptions of the vignettes. Results revealed that participants with higher PTG were more likely to relate to the PTG vignette than the illusory growth vignette, and when participants had experienced the same event in the vignette (i.e., car accident), this relationship was stronger. Last, participants mostly perceived the PTG vignette as female, and the illusory growth vignette as male. Our results suggest that interventions following traumatic experiences could be best facilitated/supplemented by reflective interactions with others who have experienced similar events. Considering one’s gender may be important in order to ensure that gender stereotypes regarding emotional expression are mitigated.


2003 ◽  
Vol 84 (4) ◽  
pp. 771-792 ◽  
Author(s):  
Wendy Berry Mendes ◽  
Harry T. Reis ◽  
Mark D. Seery ◽  
Jim Blascovich

Neophilologus ◽  
2021 ◽  
Author(s):  
Alice Jorgensen

AbstractThis article re-reads Lyric VII of the poem Advent, the dialogue of Mary and Joseph. The division of speeches in this lyric has been debated, largely on grounds of the plausibility of the emotions that are apparently expressed by the characters, but there are in fact clear pragmatic grounds for seeing only three speeches in the poem. The emotional expression in these speeches should not be seen in terms of character psychology, but rather the establishment and negotiation of relational stances. In her first speech, Mary expresses bitter grief and draws attention to her weeping, which is because of the insults and gossip she is suffering; the accent on shame and reputation is a distinctive emphasis in the poet’s treatment of the material. Her display of grief elicits Joseph’s response and paves the way to resolution in Mary’s final speech. Mary’s tears are gendered, but not so much because tears are inherently feminine as because they are associated with petition and dependence, and reflect Mary’s social subordination to her betrothed spouse. Lyric VII prompts its audience to a partial identification with Mary and reflection on their need for God and his mercy; such identification would work differently for female and male readers.


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